The film’s performances evocatively attest to how people struggle to withhold the agony of their true feelings.
Director Max Winkler truly seems to believe that he’s cutting to the heart of the boulevard of broken dreams.
The speed with which characters lay out the story’s dire stakes prevents King’s rich mythology from taking root.
Mueller convincingly posits freedom as being elusive because it’s essentially a violation of human nature.
The film offers audiences a bundle of fetishes dressed up as an existentialist thriller about the class system.
The film evinces a qualified kind of courage in its anonymous convictions, parodying a world that barely ever existed by barely existing itself.
The film is nothing without the physicality of the performers, as the script handles the transition of Shakespeare’s language to modern day indifferently.
Lionsgate decks the film out with an excellent A/V transfer and an admirable bundle of extras.
As larks go, it’s solid carpentry, lined with goodies for the nerd in all of us.
The Cabin in the Woods ultimately does exactly what it condemns, prizing schematic formula and ingenuity over real terror.
Dollhouse certainly takes its cues from its eponymous toy.
Though this is the story of only one pilot, the film would almost have us believe all bad sitcoms happen on purpose.